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Put Your Needle DownThe Secret Sisters' incredible story is as simple and true as the effortless harmonies that got them here. Begin anywhere -- the thick and fertile brambles
of their own family history or light upon the branches of the wondrous, fractal menagerie that makes up their self-titled debut album. The pair of Alabama
sisters direct from Muscle Shoals (barely twenty-somethings themselves) caught the attention of T Bone Burnett, who signed on as Executive Producer of
their debut album after spending time with Laura and Lydia and hearing them sing live, and is releasing the album on his new label created especially for
this release -- Beladroit. As Burnett explains, I have been making music for over forty years and The Secret Sisters album is as close to pure as it gets.
Their self-titled debut album consists of ballads, originals, and cover songs such as Why Don't Ya Love Me?, Why Baby Why, and the Frank Sinatra
song Somethin' Stupid. The album also includes two originals written by Laura Rogers: Tennessee Me and Waste the Day. The album was recorded
in two weeks at Blackbird studios. Their eleven-song debut was produced by Dave Cobb, who has worked with artists such as Waylon Jennings and
Jamey Johnson, and also executive produced by T-Bone Burnett. The Secret Sisters brough in studio musicians such as steel guitar player Robbie
Turner and pianist Pig Robbins. Also included on the album is a cover of the 60s rock song by then teenage singer Nancy Baron I've got a Feeling,
written by Wally Zober and C. Laverne. The album was also recorded with classic analog equipment. The production team and the Sisters utilized vintage
microphones and classic recording techniques, down to the same type of tape they would have used fifty years ago.1. Rattle My Bones
3. Dirty Lie
4. The Pocket Knife
5. Let There Be Lonely
6. Black And Blue
7. Lonely Island
8. I Cannot Find A Way
9. If I Don't
10. Good Luck, Good Night, Goodbye
11. Bad Habit
12. River Jordan$23.99Vinyl LP - Sealed Buy Now
The Secret SistersThe Alabama-reared siblings, Laura and Lydia Rogers, whose new album is steeped in the familial camaraderie and mesmerizing harmonies braced by their Mussel Shoals roots, recorded their inaugural musical effort at Nashville's renowned Blackbird Studio. Produced by revered county knob-turner Dave Cobb (Waylon Jennings and Jamey Johnson), and executive-produced by T-Bone Burnett, The Secret Sisters' sound captured on their debut has been described by Burnett as as close to pure as it gets, and I've been doing this for forty years.
Recorded in a marathon two-week recording session, the producers also brought in vintage analog recording equipment and vintage microphones, determined to properly capture the sisters' magical harmonizing and stunning vocal power. Their signature sound is evident on songs such as Why Don't Ya Love Me, Why Baby Why, and the lifting anthem Tennessee Me, among others.
The Secret Sisters co-wrote several of the songs on the new album and reworked found treasures, including the Frank Sinatra classic Something Stupid. They also enlisted the support of legendary country musicians such as pedal steel great Robbie Turner and piano legend Pig Robbins, among others.1. Tennessee Me
2. Why Baby Why
3. The One I Love Is Gone
4. My Heart Skips A Beat
5. Somethin' Stupid
6. I've Gotta Feeling
7. Do You Love An Apple
8. All About You
9. Waste The Day
10. Why Don't You Love Me
11. House Of Gold$24.99Vinyl LP - Sealed Buy Now
Weird SisterWe're excited to announce the release of the debut album by thrilling Cardiff-based noisepop five-piece Joanna Gruesome. Brimming with irresistible pop melodies and spiked with dissonant fuzzy jangle, their songs are shot through with loud discordant feedback and super-fast, hardcore punk drumbeats. Kicking it against sexism and homophobia, nothing is off-limits, drawing inspiration from DIY scenes such as Riot Grrrl/noisepop/C86/K Records as well as post hardcore like Drive Like Jehu/Converge and the art rock of The Velvet Underground, Swirlies and My Bloody Valentine.
Joanna Gruesome comprise Alanna on vocals, Owen on guitar, Max on bass, George on guitar and Dave on drums. Most of the album was written during a month long stay in a seedy west Brighton hotel called The Hell House and recorded under the guidance of producer MJ of the much lauded Hookworms. Awash with nods to mental illness and the dark recesses of the mind, the record is littered with references to the devil or zombies and allusions to comic books.
Take first single "Secret Surprise," in which mental illness takes a physical form and is fought using razor blades. Or Anti-Parent Cowboy Killers, which is about stealing a scooter and driving it into the ocean when you should be in school LEARNING. Or Sugarcrush, about spending a summer burning knitwear. Slotting in with contemporaries like Swearin' and Speedy Ortiz, Joanna Gruesome offer a staggeringly diverse album, unexpectedly quiet and surprisingly loud.
"Abrasion, anger, attitude. One guitarist is in the audience, but this isn't too much of a stretch. There are slower parts where the musicians take a second to breath. There are noisier bits where the musicians take a second to reflect. There are thumpy bits where the musicians take a second to dance and enjoy themselves. Everyone's smiling. Everyone's hugging themselves. What a glorious mess of a noise to be a part of. What a glorious sense of community." - Everett True, Collapse Board
A brilliant band from Cardiff who love their fuzzy melodies and songs dripped in scuzzy reverb. Huw Stephens, Radio One.1. Anti-Parent Cowboy Killers
3. Wussy Void
5. Lemonade Grrrl
6. Secret Surprise
7. Do You Really Wanna Know Why Yr Still In Love With Me?
10. Satan$15.99Vinyl LP - Sealed Buy Now
Brothers and Sisters of the Eternal SonDamien is out of his goddamn mind.
This isn't a recent development, but it's an important aspect of his work that often goes ignored. In place of
this key element is the idea that his music is a sober and in-depth excavation of the American landscape and
rural psyche. Well, folks,I'm sorry, but it's not.
Damien Jurado is every character in every Damien Jurado song. He is the gun,the purple anteater,the paper
wings, the avalanche, the airshow disaster, Ohio, the ghost of his best friend's wife. It is a universe unto its
own,with it's own symbolism, creation myth, and liturgy. You might go as far as to call it a religion, and your
religion is a character in his religion.
Level with me. You're reading this because of Damien Jurado's new album,Brothers and Sisters of the Eternal
Son (produced by Richard Swift). You are a progressive minded, left-leaning person who in parlor-style
conversation regarding the globo-political ramifications of Sky Person relationships laughs knowingly so as
not to be judgmental and very reasonably concedes "Well, I don't believe He's some old man with a beard
sitting up in the clouds" at which point everyone agrees on [insert benign middle-ground] and moves on.
Consider this:What if the only way to understand a religion is to create your own?
Who is this Silver community? Where the hell are they in the Bible? Is this heresy? Agnostic reference? Isn't
this sun business a little, I don't know, animistic? Pagan? Go ahead and answer that question for yourself. I'll
give you a second.
Do you understand the music any better?
You know that adage we all use so we have something to say while we shrug our shoulders? "People change"?
That one. Is that applicable to Jesus Christ? Maybe he's been on a personal journey of discovery since he
ascended. He went through the 60's, 70's,he turned on,tuned out, got disillusioned. Why can't we talk about
that Jesus? Does it have to be the old-timey one all the time? American folk Jesus,ugh. The one who's always
winning Best Soundtrack Oscars for people. Rarely do stories of faith make us identify with Jesus. It's
Abraham, Satan, Silver Timothy, Salome, Dr.J, Saul of Tarsus; divinely imperfect brothers and sisters who give
Gawd something to do.
Damien Jurado made up his own Jesus because a Damien Jurado album needs a beautiful Jesus. Some freaky
space Jesus that I don't recognize. The name is the same, a lot of the imagery is the same, but he's reborn.
Born again,I mean. Yeah, as if Jesus got born again. That's what this album sounds like.
Jesus is out of his goddamn mind and I want to live in Damien's America.
Sign me up.
--- Father John Misty; 09-20-20131. Magic Number
2. Silver Timothy
3. Return To Maraqopa
4. Metallic Cloud
5. Jericho Road
6. Silver Donna
7. Silver Malcolm
8. Silver Katherine
9. Silver Joy
10. Suns In Our Mind$16.99Vinyl LP - Sealed Buy Now
Sister Big StuffGrammy-nominated bluegrass sensation, The Steep Canyon Rangers proudly present their debut Rounder Records effort Nobody Knows You. Grammy nominated for their collaboration with icon Steve Martin, these personable young musicians are as Steve puts it, "not only great musicians who continue to explore both the new and old styles of bluegrass and bring a fresh energy to the traditions of American music, but they are also really fun on a bus."
Deft musicianship, impeccable songwriting, distinctive vocals, and creative arrangements are just some of the qualities that set The Steep Canyon Rangers apart from the rest of the pack. Unafraid to break the mold, whether taking the unexpected musical turn or bringing home the surprising lyric, it's no wonder that Martin chose them as just the right band to record and tour with. Nobody Knows You is the most adventurous and fully realized accomplishment The Steep Canyon Rangers have achieved to date.
Guitarist Woody Platt's take on Nobody Knows You to No Depression, I think this record is an obvious step for us if you were to go back and listen to all of our records in order. To me, Nobody Knows You has the most depth from start to finish, and I believe that it features our best songwriting to date.
He adds, Although it is a bluegrass album, and we are very proud to be a bluegrass band, there are elements of pop, honky-tonk, jazz and rock and roll all kind of mixed into the album. The variety of the record will hopefully enable us to reach a larger audience of music fans, and not limit it to only bluegrass fans. Compared to our previous discography, I'd say that this record has the best chance to have a broad appeal.1. South Of The Border
4. Why Not Tonight
5. Wish Your Picture
6. Sata A Masa Gana
7. Sister Big Stuff
8. Stand Accused
9. Bridge Over Troubled Waters
10. Stick By Me
11. Young Gifted And Black
12. Cool Operator$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Walk Of ShameWalk Of Shame is the debut album from IAMSOUND recording artist Nikki Lane. Throughout the 12-song set, Lane weaves in and out of ballads of heartache, one-night stands, leaving, lust and longing. She plays the rambler and sometimes drunkard with such an ardent aptitude shed fit right in alongside classic country icons like Patsy Cline, Loretta Lynn and Dolly Parton. Walk Of Shame was produced by David Cobb (Jamey Johnson, Shooter Jennings, Secret Sisters) and Lewis Pesacov of Fool's Gold (Best Coast).1. Lies
2. Walk of Shame
3. Coming Home to You
4. Gone, Gone, Gone
5. Sleep For You
6. Look Away
7. Hard Livin'
8. Save You
9. Come Away Joe
10. Blue Star In The Sky
11. I Can't Be Satisfied
12. 30 Days In (vinyl only bonus track)$15.99Vinyl LP - Sealed Buy Now
More RainM. Ward has released a string of acclaimed solo albums over the past
several years, along with five LPs with Zooey Deschanel as She & Him
and a 2009 collaborative album with My Morning Jacket's Jim James
and Bright Eyes' Conor Oberst and Mike Mogis under the moniker
Monsters of Folk. In addition to his celebrated work as a musician,
Ward is an accomplished producer, handling those duties for such
luminaries as Mavis Staples, Jenny Lewis, and Carlos Forster as well as
his own musical projects.
More Rain, Ward's eighth solo affair, finds the artist picking up the
tempo and volume a bit from his previous release, 2012's A Wasteland
Companion. Where that record introspectively looked in from the
outside, More Rain finds Ward on the inside, gazing out. Begun four
years ago and imagined initially as a DIY doo-wop album that would
feature Ward experimenting with layering his own voice, it soon
branched out in different directions, a move that he credits largely to
his collaborators here who include R.E.M.'s Peter Buck, Neko Case,
k.d. lang, The Secret Sisters, and Joey Spampinato of NRBQ. The
result is a collection of upbeat, sonically ambitious yet canonically
familiar songs that both propel Ward's reach and satisfy longtime fans.1. [More Rain]
2. Pirate Dial
3. Time Won't Wait
5. I'm Listening (Child's Theme)
6. Girl From Conejo Valley
7 .Slow Driving Man
8. You're So Good to Me
11. Little Baby
12. I'm Going Higher$18.99Vinyl LP - Sealed Buy Now
Dangerous ThingsDan Layus is set to release his debut album, Dangerous Things, via Plated Records.
Dangerous Things spans influences from Hank Williams to Tom Waits, from Dwight Yoakam to Woody Guthrie. The album was recorded in Nashville at SouthxSea Studios with minimal production. The lyrics are about life's struggles and its simple joys, and harmonies are provided by Muscle Shoals' own Secret Sisters.
Primarily known as the frontman of the critically acclaimed band Augustana, Layus explains, "I always knew this album was out there waiting, I just had to let it come to me. That was the most challenging part of this record. It was three years of repeatedly realizing I was trying too hard to write a perfect song. It all started to make sense and feel good as soon as I stopped treating songwriting like it was songwriting. Somewhere along the way I decided that if an idea was going to turn into a song on this album, then it had to be written organically and purely. It had to be an inspired moment that was unfolding melodically, musically and lyrically, all while making me feel something. Subsequently, that's how I recorded the songs-I played the song live a few times in front of some microphones and when I felt something real happen, we moved onto the next one. The songs and recordings on this album are inspired by other people's stories and informed by my own experiences and I've never felt more proud or comfortable sharing an album as I feel with this one."1. Dangerous Things (feat. The Secret Sisters)
3. Four Rings (feat. The Secret Sisters)
4. You Can Have Mine (feat. The Secret Sisters)
5. Only Gets Darker (feat. The Secret Sisters)
6. Call Me When You Get There
7. Let Me Lose You
8. Fell In Love On A Beach
10. Enough For You
11. The Nightbird (feat. The Secret Sisters)$21.99Vinyl LP - Sealed Buy Now
Side PonyLake Street Dive announce their Nonesuch Records debut album, Side Pony. The four band members-drummer Michael Calabrese, bassist Bridget Kearney, singer Rachael Price, and guitarist/trumpeter Michael McDuck Olson-worked with Nashville-based producer Dave Cobb (Sturgill Simpson, Chris Stapleton, Secret Sisters) on the record.
Side Pony takes its name from a song on the record that refers to a whimsical hairstyle, but it also serves as a metaphor for Lake Street Dive's philosophy and personality as a band. As Kearney puts it, When we were settling on the album title, that one just stuck out to us as embodying the band's spirit. We've always been this somewhat uncategorizable, weird, outlying, genre-less band. That's the statement we wanted to make with this record: be yourself.
Olson echoes her sentiment: It has also come to mean anything you're doing for the sheer joy of it. We have always 'rocked our side pony.' Now we have a convenient phrase for it.
Cobb's working method was to keep the recording fast and loose, as live-in-the-studio as possible, and to embrace the unorthodox. This provided Lake Street Dive with a welcome challenge: an opportunity to experiment with sound and arrangements and to collaborate on songwriting in a way the band had never attempted before.
Calabrese says of the recording process, Dave's process was mercurial, changing direction quickly, going from 'we don't have anything' to 'we've got it!' He continues, We weren't always so sure. But then we'd listen to a comp and we'd agree that he'd heard something we hadn't.
Price adds, It was great to see, through this particular recording process, how beautifully our individual strengths complement each other.1. Godawful Things
2. Close to Me
3. Call Off Your Dogs
4. Spectacular Failure
5. I Don't Care About You
6. So Long
7. How Good It Feels
8. Side Pony
9. Hell Yeah
11. Can't Stop
12. Saving All My Sinning$20.99Vinyl LP - Sealed Buy Now
My Funny Valentine (Awaiting Repress)Numbered, Limited Edition
Historic Recording Captures Elegant Ballads Performed at February 1964 Concert
Audiophile Reference-Standard Sound: Album Boasts Lifelike Tones, Balances, Images, and Ambience
Davis Taps Divine Inspiration: Compositions Marked by Deep Emotions, Spontaneous Brilliance, Sensitive Beauty, and Sublime Poignancy
Miles Davis' My Funny Valentine marks several historic turning points. For Davis, the live album represents the final time on record he'd perform standards rather than original compositions. It also stands as one of the last documents made by the same band that created Seven Steps of Heaven. As such, the work teems with bebop melodicism yet steers clear of Davis' oft-controversial avant-garde leanings. Most significantly, however, the set captures the ballads performed at a benefit concert from New York's then-new Philharmonic Hall just months after President Kennedy's assassination. Tapping into a seemingly divine inspiration, Davis never sounded so elegant or poetic.
Boasting gorgeous sound and pressed on 180g LP at RTI, Mobile Fidelity's choice reissue of the trumpeter's scintillating work bookends the label's release of Four & More from the same show and features similar enhancements relating to depth, presence, dynamics, clarity, and ambience. Presented in reference-standard fidelity, the record boasts balances, tonalities, and airiness that duplicate the experience of witnessing live jazz in an acoustically ideal hall. The images of each individual instrument, the decay of the notes, the inner reaches of the piano, and symmetry of the horns-all are rendered with palpable detail. This is the very definition of reach-out-and-touch-it realism.
Staged as a benefit to support voter registration in the South, the February concert came amidst the height of the Civil Rights movement, a cause dear to Davis' heart. Yet unforeseen circumstances raised the stakes. Having professed his admiration for Kennedy years prior, Davis appears to approach the compositions on My Funny Valentine (and, in particular, the title track) as homage to the fallen leader, a collective soliloquy comprised of pieces shot through with deeply emotional passages, spontaneous brilliance, sensitive beauty, and sublime poignancy. Elegiac moods permeate the performances; Davis and his Harmon mute paint with intricate brushstrokes.
Pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams are their leader's equal, and would continue with Davis until later in the decade, helping form what's now known as the "second great quintet." But the secret weapon on both My Funny Valentine and its sister Four & More arrives in the form of tenor saxophonist George Coleman, whom jazz experts Brian Morton and Richard Cook deem "one of the unsung heroes of modern jazz." His lines are subtle and sophisticated, straight ahead but capable of unanticipated direction, and here, he comes into his own. As does the entire band.
Indeed, the combination of introspective chemistry, lyrical reach, and telepathic communication demonstrated by the quintet on My Funny Valentine arguably exceeds that on any of Davis' myriad other live efforts. One listen confirms something special transpiring, and on this Mobile Fidelity reissue, those properties are rendered in a manner that's as transparent to the source as humanly possible. Do not miss this.
This title is not eligible for discount.1. My Funny Valentine
2. All of You
3. Stella By Starlight
4. All Blues
5. I Thought About You$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed AWAITING REPRESS Buy Now
Visions Of Us On The Land"Damien Jurado is every character in every Damien Jurado song. He is the gun, the purple anteater, the
paper wings, the avalanche, the air show disaster, Ohio, the ghost of his best friend's wife."
- Father John Misty
Providing the ideal entry point for neophytes and an intoxicating aural high for the faithful, Damien
Jurado's new opus extends the hot streak ignited by 2012's Maraqopa and its 2014 follow-up Brothers and
Sisters of the Eternal Son. Cut once again with label-mate and super producer Richard Swift at the latter's
National Freedom recording facility in rural Oregon, Visions of Us On The Land completes the tale of an
individual who has had to disappear from society in order to discover some universal truths.1. Amateur Night
4. Texas To Ohio
6. I Can't Get Over You
7. Intoxicated Hands
10. Bad Dreams
11. Abilene (demo)
12. I Can't Get Over You (demo)
13. The Killer (demo)
14. Amateur Night (demo)
15. Omaha (demo)
16. Smith 1972 (Just In Time For Something EP)
17. Motion Sickness (Just In Time For
18. Night Out For The Downer (Just In
Time For Something EP)
19. Prices (Just In Time For Something
20. Engine Fire (Just In Time For
Something EP)$22.99Vinyl LP - 2 LPs Sealed Buy Now
Feeling The SpaceIf you've listened to Feeling the Space, Yoko Ono's personal-is-political 1973 album, it should come as no surprise that the once-reviled artist is inspiring a new generation of activists in 2017.On such songs as the righteous chant "Woman Power," the empathetic ballad "Angry Young Woman," the hilarious proto-grrrl "Potbelly Rocker," and the satirical "Men Men Men," Yoko sings in surprisingly straightforward fashion about the burdens carried by women and the mandate for feminism. Supported by such skilled studio vets as guitarist David Spinozza, sax player Michael Brecker, and drummer Jim Keltner, this is perhaps Yoko's most accessible album,and her most intimate.
Feeling the Space was recorded during the time when the avant-garde visionary artist became estranged from her rock-star husband John Lennon. He plays only briefly on the album (billed as Johnny O'cean); she produced and wrote all the songs. The result is a definitive soundtrack/document of the era of consciousness raising and of radical critique of the family structure. Yoko and company deliver this hard message soft rock style, or as soft as Yoko could get. Yoko was on the front lines of the women's liberation movement. Dedicated "to the sisters who died in pain and sorrow and those who are now in prisons and in mental hospitals for being unable to survive in the male society," it's an emotional exploration of the psychological toll of oppression.1. Growing Pain
2. Yellow Girl (Stand By For Life)
3. Coffin Car
4. Woman Of Salem
5. Run, Run, Run
6. If Only
7. A Thousand Times Yes
8. Straight Talk
9. Angry Young Woman
10. She Hits Back
11. Woman Power
12. Men, Men, Men$23.99Vinyl LP - Sealed Buy Now
Hive MindIf youve heard Daniel Martin-McCormicks name recently, it would have been either in association with his disco / punk / echo band Mi Ami, or as Sex Worker on the Not Not Fun label, or as Ital on NNFs sister label 100% Silk. Raised in Washington, DC, Martin-McCormick has a history in the citys hardcore scenehe was in Dischord Records band Black Eyes in the early 2000sbut was also making dance-inspired tracks during the same period, coming from a very different angle than the average guy with a copy of Logic Pro and a working knowledge of dance musics history.
Martin-McCormicks music is a stranger thing. Hive Mind, his debut full-length under the Ital moniker, uses houses easygoing 4/4 structure as a kind of camouflage for more out-there sonic explorations, subverting expectations, seeking the links between dubs space- and sound-bending, industrials unsettling sonics and the effects and black holes of minimal at its weirdest. The album has a sculptured feel: sounds twist in space while melodies pitch-shift in an unsettling way, voices fade in and out, nothing is ever allowed to settle comfortably, everything vibrates.
Opener Doesnt Matter (If You Love Him) sounds a bit like Tackhead if they had made house music, using a flickering and confidently repeated phrase over a lumbering drum and bass line, introducing swirling and bombing synths into the mix once the secret comes out. The strange marriage of treated voices and swelling, pitch-bent chords and effects on Floridian Void draws the listener into its strange atmosphere; its an ambient house track of sorts, but the ambience here is a swirling, confusing, watery vortex rather than fuzzy, new age pap. Privacy Settings builds creepy wolf howls over a slow bass line and cold, far-away drums, estranged from their usual disco setting, while Israel picks things up again, with weird, pitch-shifting bells over dubby toms and cold chords. Final Wave restores the album to something resembling normality, with a disco-like swing that recalls Moodymanns beat-down productions slid through brutal dub-like effects that bring out a shade of strangeness in an otherwise happy groove.1. Doesn't Matter (If You Love Him)
2. Floridian Void
3. Privacy Settings
5. First Wave$18.99Vinyl LP - 2 LPs Sealed Buy Now
CaerTwin Shadow, the project of George Lewis Jr., is back to announce his new album. Caer (pronounced: ka-air) is the artist's fourth album to date, and is set for release via Warner Bros. Records.
About Twin Shadow and Caer:
Sometimes I feel like I have to take a fall to essentially get to the next phase of my life, Lewis says
about Caer. It's happened over and over. I've been through so many musical phases and through
so many relationships with friends and lovers. I always feel like I'm standing on the edge of a cliff,
looking down and thinking, 'This is the only way forward: onto the next thing.' It's sort of destructive,
but I guess I thrive on rebirth.
Falling is a theme that surfaces throughout the album, which is why Lewis called it Caer - the
Spanish word for to fall. The album serves as a powerful lens through which Lewis explores his
own personal sense of falling, as well as what he has observed about a world that feels as if it's
declining. On a larger scale, Caer feels extraordinarily current, given what's going on culturally and
politically right now. The patriarchy is falling apart, Lewis says. Our perceptions of who we are as
human beings, because of technology and machines, are falling apart. We're living at a breaking
point, and a lot of the themes on the album are talking about these fault lines. Lewis refers to such
fissures on Saturdays (which features Haim). It's a love song, he says. 'Saturdays' is the heaven
place you go to when you're in love or even with friends, feeling your youth. But it's also about my
feeling that the world is starting to tear itself apart and maybe we're falling through the cracks. But
when you're laying in bed next to someone you care about, none of that seems real.
Lewis feels that Caer is something of a sister record to his 2010 debut album, the lush, gauzy
Forget, in that it's a record with hidden doorways and secret passages more is revealed the more
time you spend inside of it.
Lewis is part of a lineage of artists who constantly experiment but still manage to create the
soundtrack to people's lives, like Prince and David Bowie. Those are the artists who just keep
giving it to you forever. It's 'forever' music. To me, that's the greatest thing in the world.1. Brace (feat. Rainsford)
2. Saturdays (feat. Haim)
3. Sympathy (feat. Rainsford)
4. 18 Years
5. Little Woman
6. When You're Wrong
7. Twins Theme (Interlude)
8. Littlest Things
9. Too Many Colors
10. Rust (Interlude)
11. Obvious People
13. Bombs Away (RLP)$19.99Vinyl LP - Sealed Buy Now
LoyaltyThe record was called Loyalty from the beginning-it was the first decision I made about it. It's a word you
usually see written in copperplate script, a virtue: LOYALTY. But the songs don't treat it that way, just as a
thing to unpack. It's a force that you have to reckon with: loyalty to the dream, to the "work," to the mythical idea of "you" that somebody thought they saw. It can be a weakness as much as a strength; it can keep you from the reality of your own life, your own self. - Tamara Lindeman
In excess virtue lies danger, or at least limits to pragmatic action-it's a lesson hard learned by anyone
disillusioned by the erosion of youthful mythologies. Strict fealty to a fixed ideal of identity doesn't do us
any favors as adults. Loyalty, the third and finest album yet by The Weather Station (and the first for
Paradise of Bachelors) wrestles with these knotty notions of faithfulness/faithlessness-to our idealism,
our constructs of character, our memories, and to our family, friends, and lovers-representing a bold
step forward into new sonic and psychological inscapes. It's a natural progression for Toronto artist
Tamara Lindeman's acclaimed songwriting practice. Recorded at La Frette Studios just outside Paris in
the winter of 2014, in close collaboration with Afie Jurvanen (Bahamas) and Robbie Lackritz (Feist),
the record crystallizes her lapidary songcraft into eleven emotionally charged vignettes and intimate
portraits, redolent of fellow Canadians Joni Mitchell, Leonard Cohen, and David Wiffen, but utterly her
Lindeman describes La Frette, housed in an enormous, crumbling 19th-century mansion, as
"a secret garden, a place of enchantment and grace": walls mantled in ivy and lions, corridors piled high
with discarded tape machines, old reels, and priceless guitars. As she puts it, "Recording where we did
meant we embraced beauty-we weren't afraid of it being beautiful." Like the record itself, it's a quietly
radical statement, especially since certain passages achieve a diaphanous eeriness and harmonic and
rhythmic tension new to The Weather Station. The stacked vocal harmonies of "Tapes," the drifting,
jazz-inflected chording in "Life's Work," and the glacial percussion in "Personal Eclipse" contribute to a
pervading sense of clock-stopping bloom and smolder, recalling the spooky avant-soul of Terry Callier's
Beyond the decaying decadence and vintage gear, the brokedown palace atmosphere of
La Frette afforded a more significant interior luxury as well, one stated with brutal honesty in the
stunning "Shy Women": "it seemed to me that luxury would be to be not so ashamed, not to look away."
Accordingly, Loyalty brings a freshly unflinching self-examining gaze and emotional and musical control
to The Weather Station's songs. She is an extraordinary singer and instrumentalist-on Loyalty she plays
guitar, banjo, keys, and vibes-but Lindeman has always been a songwriter's songwriter, recognized for
her intricate, carefully worded verse, filled with double meanings, ambiguities, and complex metaphors.
Though more moving than ever, her writing here is almost clinical in its discipline, its deliberate wording
and exacting delivery, evoking similarly idiosyncratic songsters from Linda Perhacs to Bill Callahan.
Outside her musical practice, Lindeman also happens to be an accomplished film and
television actor, and it's her directorial eye for quietly compelling characters and the rich details of the
everyday, Bressonian in its specificity and scope, that drives the limpid singularity of The Weather
Station's songs. As in Bresson's films, there is no trace of theater here, no brittle singer-songwriter
histrionics, but rather a powerful performative focus and narrative restraint, a commitment to what the
auteur called the "simultaneous precision and imprecision of music." Despite the descriptive delicacy, the
album never lapses into preciousness or sentimentality, instead retaining its barbs and bristles and
remaining resolutely clear-eyed and thick-skinned. Lyrically, Loyalty inverts and involutes the language
of confession, of regret, of our most private and muddled mental feelings, by externalizing those
anxieties through exquisite observation of the things and people we accumulate, the modest meanings
accreted during even our most ostensibly mundane domestic moments. ("Your trouble is like a lens," she
discerns in "I Mined," "through which the whole world bends.")
"Tapes" and "I Could Only Stand By" expose and exalt the quotidian-"the little tapes"
hidden beneath a lover's bed, "the sunken old moorings" at the "bruise-colored lake"-without romanticizing
these scenes of, respectively, grief and guilt. "Like Sisters" analyzes the darker contours of a
friendship with devastating scrutiny. The breathless momentum of "Way It Is, Way It Could Be"-"both
are," she sings of the way we sometimes live, for better or for worse, amid multiple truths-hinges on a
mysterious moment when two brown dogs die underwheel, then don't, and that gut-sickness is
overturned, a sin redeemed with a second glance. "Floodplain" and "Personal Eclipse" are also road songs
about traveling through, and owning, the empty places in-between, literally and figuratively-what
Lindeman deems "the various ways people try to disappear from themselves, in physical distance, in
To invoke Melville (author of PoB's namesake story), "extreme loyalty to the piety of love"
can be a destabilizing force, a kind of bondage from which we must emancipate ourselves. The line is
from his strange masterpiece Pierre, or the Ambiguities; The Weather Station's Loyalty could quite easily
support the same subtitle for the fascinating ways it navigates the deep canyons between certainty and
uncertainty, faith and doubt.1. Way It Is, Way It Could Be
4. Shy Women
5. Personal Eclipse
6. Life's Work
7. Like Sisters
8. I Mined
10. I Could Only Stand By
11. At Full Height$21.99Vinyl LP - Sealed Buy Now
GenerationJoyrides atop a walloping disco beat and furious percussive guitars, headed somewhere between the Rapture, Chic, and Talking Heads, but with a cartoonish giddiness that takes me back to the heyday of Junior Senior and Scissor Sisters. - Stereogum
Rising stars - DJ Mag
On their full-length 2014 debut Voyage, L.A duo De Lux learned how to
take their influences and create a sound all their own-a beyond-their-years
synthesis of post-punk, disco, funk and of course synthesizer wizardry,
drawing inspiration from the same combination of agitation and exhilaration
that helped LCD Soundsystem and Talking Heads deliver some of the most
danceable social commentary ever. And now that they've found their sound,
De Lux are creating a story to go with it on their new album Generation: "All
of these things that they put us through," sings co-founder and multi-instrumentalist
Sean Guerin, "I'm writing it down / I'm writing it down."
They first started writing Generation in the kind of uncommitted
instances that happen so rarely once a new band puts out its first album. Once
Voyage was released, De Lux found themselves playing and interviewing and
touring and remixing-"All fun!" says Sean-but they had to fight to find time
to write. A random Instagram of work-in-progress song "It's A Combination"
was the tipping point, when Sean and co-founder Isaac Franco realized they'd
been rough-drafting for a year: "Let's finish it now," they decided, and that's
the exact moment when Generation officially started.
They returned to the L.A. practice space where they wrote and recorded
Voyage, this time with new instruments-like the little-known but sought-after
synthesizer guitar beloved of King Crimson's Adrian Belew-and new inspirations,
chief among them punk peformance artist Karen Finley, whose 1987
debut album Sean discovered at a Seattle record store simply because it
looked promising. Her infamously uncensored lyrics made him realize there
was more he could sing about, too: "You admire the ambition behind her
saying whatever she wants," he says.
So if Generation is a darker album than Voyage-and it's inherited plenty
of the modern urban anxiety of David Byrne-that's because it's a fearlessly
honest and candid album, too. In fact, call it a millennial documentary. In
Generation's eleven songs, De Lux chart the distance between childhood and
adulthood, nostalgia and aspiration and dream and reality, all with unflinching
autobiographical detail. (And with a secret nod to the Pokemon theme, too.)
Says Sean: "When I write lyrics, I try and be as specific as possible. We think
about if someone listens to us in 30 years: 'Oh, that's what was going on at
The result is a sort of Less Than Zero for the post-Social Network era.
Think of it as a nighttime freeway drive that starts with the propulsive "L.A.
Threshold" and rides the borderline between feel-good rhythm and artfully
sophisticated sentiment. "There's dark moments, but it's still fun," explains
Sean. "The first album was just more innocent." There's new space in De Lux's
sense of rhythm and groove, says Isaac, for Sean to say what he needs to say:
"The song gives him the freedom to be himself."
And so Generation is an album about high highs, low lows and the vast
space in between. "Center of L.U.B" is a roller-skate jam that starts with a
Can-style guitar riff before spinning into an examination of one utility company
employee's ennui-you knew this wasn't going to be a love song,
right?-while "It's A Combination" is a brooding Italo disco track and
unexpected piano piece "Conditions" is like Harry Nilsson or John Lennon
suddenly transplanted to Rough Trade Records. Then there's the alternately
hilarious and harrowing "Oh Man The Future"-a satirical reading on the shape
of things to come, propelled by a bass-and-drum rhythm right off one of ESG's
first EPs-to the desolate-yet-funky "When Your Life Feels Like A Loss," where
De Lux dissect just what happens when "you think you're special/no, you're
not special/you're just an average guy."
In other words, Generation isn't a departure. This is De Lux going
deeper, not farther away, and the result is surely the most anthropologically
daring dancefloor album of the year. That might seem difficult to pull off, but
that's why they did it, explains Sean: "At some point we realized creativity is
just limitless," he says. "You can do anything. There might be certain people
who think, 'Oh, you can't do that.' That's when you say, 'Well-I'm doing it!'"1. LA Threshold
3. Living In An Open Place
4. Center of L.U.B.
5. Simba Simba Simba
6. No One Really Cares Who You Are
7. Oh Man The Future
9. When Your Life Feels Like A Loss
10. It's A Combination
11. Someday Now$20.99Vinyl LP - 2 LPs Sealed Buy Now
Thin WallsThe world is growing ever smaller. There are less places to hide and less space to think. Nothing is private. It's a notion that Belgian quintet Balthazar felt keenly as they traversed the world touring their 2012 album Rats. It was an intense period where they clocked up the sort of hard road mileage that can make or break a band but Balthazar's two songwriters, Maarten Devoldere and Jinte Deprez, emerged emboldened. As Jinte explains, we know each other's darkest secrets now. We grew together. You live together as each other's brother and sister. We discovered we really like each other.
Lives lived in each other's pockets has left its mark on Thin Walls, the stunning new album from the five-piece who are completed by Patricia Vanneste, Simon Casier and Michiel Balcaen. Thin Walls is all about touring and never having any privacy, says Jinte. The songs were written in a hazy hyperactive state between shows. Balthazar's previous two albums, 2010's Applause and the calculated, searing alt-rock of 2012's Rats, were created in a slow, considered manner back home. This time round, the band had to fit in writing sessions whenever they had a spare day off. When you're on tour, the mood is very restless and chaotic, says Maarten. Life on tour is kind of weird, everything is prepared for you and you drink way too much. If you write with a hangover, then you write differently...1. Decency
2. Then What
5. Wait Any Longer
6. Dirty Love
7. Last Call
8. I Looked for You
9. So Easy
10. True Love$22.99Vinyl LP - Sealed Buy Now
Tin Star (Out Of Stock)Tin Star, the latest album from critically lauded singer-songwriter Lindi Ortega, is released by Last Gang Records. The record follows 2012's Polaris Prize long-listed Cigarettes and Truckstops and her 2011 Juno Award-nominated debut Little Red Boots. Billboard called Cigarettes and Truckstops heartfelt and mood-inducing, a uniquely bluesy twist on pre-outlaw country while The New York Times praised Ortega for having untamed instincts, but classic bones.
Produced by Grammy-nominated Dave Cobb (Secret Sisters, Shooter Jennings), Tin Star demonstrates the unique voice and songwriting that Ortega has come to be known for and is largely inspired by Ortega's adopted home of Nashville. Born and bred in Toronto, Ortega made the move to Music City to be closer to the musicians who inspired her. It's always my goal to raise the bar with each record I put out. I have witnessed so much talent living in Nashville that has inspired me to push myself even further, she explains. I like to work with different musicians and producers to change the feel of every release. I don't want to risk making the same record over and over. Working with a new group brings a new spirit and new ideas to the music.
- Richard Best (Broadway World)1. Hard As This
2. Gypsy Child
3. Tin Star
4. Voodoo Mama
5. Lived And Died Alone
6. I Want You
7. This Is Not Surreal
8. Something For You
9. All These Cats
10. Waitin' On My Luck To Change
11. Songs About$19.99Vinyl LP - Sealed Temporarily out of stock
Another Day, Another Time: Celebrating the Music of Inside Llewyn Davis (Out Of Stock)A one-night-only concert was held at New York City's Town Hall last fall, to celebrate the music of the Coen brothers film Inside Llewyn Davis. The evening was filmed for a documentary that was broadcast by Showtime last winter, and now Nonesuch Records releases a live recording of the concert, Another Day, Another Time: Celebrating the Music of "Inside Llewyn Davis,"on January 13, 2015. The concert, documentary, and live album were produced by Inside Llewyn Davis writer/director/producers Joel and Ethan Coen and soundtrack producer T Bone Burnett. (Nonesuch also released the film's soundtrack.)
As Burnett explains, "Inside Llewyn Davis was filled with live performances of some of the folk songs that had survived the McCarthy hearings. Some of the songs were a hundred years old; some had just been written but sounded a hundred years old. In order to get attention for a film that was not exactly on the beat we decided to throw a concert featuring the actors and musicians who had performed in the movie and on the soundtrack. We also invited members of the extraordinary community of musicians who have coalesced around this old music-and have kept it alive in the wake of the most recent technological revolution-to join us that night. We asked them to perform an old song and one of their new songs.
He continues, "Several new stars emerged from their performances that evening-The Secret Sisters, Lake Street Dive, The Milk Carton Kids, Rhiannon Giddens, and Punch Brothers all proved themselves as good as the best as they took the stage next to Hall of Famers Joan Baez and Elvis Costello, and established younger artists like The Avett Brothers, Colin Meloy, Marcus Mumford, Conor Oberst, Willie Watson, Gillian Welch, and Jack White." In fact, T Bone Burnett has since produced albums by both Punch Brothers and Rhiannon Giddens, which will be released shortly after Another Day, Another Time.
Huffington Post called Another Day, Another Time "one of those only-in-New-York events," while Rolling Stone said it was "a bustling salute to the sounds and the idea of Sixties folk music," and continued, "For all the formality of the night, which was exceedingly well-paced and organized, the concert recalled a time when one or two people, bearing one or two unplugged instruments, could be as enthralling as the greatest rock or EDM track."1. Tumbling Tumbleweeds - Punch Brothers
2. Rye Whiskey - Punch Brothers
3. Will the Circle Be Unbroken - Punch Brothers, Gillian Welch, Dave Rawlings
4. The Way It Goes - Gillian Welch & Dave Rawlings
5. The Midnight Special - Gillian Welch, Dave Rawlings, Willie Watson
6. I Hear Them All/This Land Is Your Land - Gillian Welch, Dave Rawlings, Willie Watson
7. New York - The Milk Carton Kids
8. Tomorrow Will Be Kinder - Secret Sisters & Punch Brothers
9. You Go Down Smooth - Lake Street Dive
10. Please Mr. Kennedy - Elvis Costello, Oscar Isaac, Adam Driver
11. Four Strong Winds - Conor Oberst, Gillian Welch, Dave Rawlings
12. Man Named Truth - Conor Oberst, Gillian Welch, Dave Rawlings
13. Blues Run the Game - Colin Meloy
14. Joe Hill - Colin Meloy, Gillian Welch, Joan Baez
15. All My Mistakes - The Avett Brothers
16. That's How I Got to Memphis - The Avett Brothers
17. Head Full of Doubt/Road Full of Promise - The Avett Brothers
18. Mama's Angel Child - Jack White
19. Did You Hear John Hurt? - Jack White
20. We're Going to Be Friends - Jack White
21. Waterboy - Rhiannon Giddens
22. 'S iomadh rud tha dhìth orm / Ciamar a nì mi 'n dannsa dìreach - Rhiannon Giddens
23. Hang Me, Oh Hang Me - Oscar Isaac, Punch Brothers, Secret Sisters
24. Green, Green Rocky Road - Oscar Isaac
25. Tomorrow Is a Long Time - Keb Mo
26. Rock Salt & Nails - Bob Neuwirth
27. The Auld Trianole - Punch Brothers & Marcus Mumford
28. Didn't Leave Nobody but the Baby - Carey Mulligan, Gillian Welch, Rhiannon Giddens
29. Which Side Are You On? - Elvis Costello, Joan Baez, Chris Thile
30. House of the Rising Sun - Joan Baez, Dirk Powell, Marcus Mumford
31. I Was Young When I Left Home - Marcus Mumford
32. Fare Thee Well (Dink's Song) - Marcus Mumford, Oscar Isaac, Punch Brothers
33. Farewell - Marcus Mumford & Punch Brothers$44.99Vinyl LP - 3 LPs Sealed Temporarily out of stock
Images 13 (Out of Stock)
"Dex Romweber was and is a huge influence on my music. I owned all of his records as a teenager, and was thrilled at the fact that we were able to play together recently on tour. [He is] is one of the best kept secrets of the rock n roll underground." -Jack White, White Stripes
For a quarter century, Dex Romweber has trolled the dark corners and back shelves of the haunted thrift store of Americana ephemera and honed an extraordinarily idiomatic sound, a particular and readily identifiable DEXness for those in the know. It's a creepy doll collection of surf, proto-rockabilly, garage, dark and vengeful blues, and nobody, but nobody, plays it like Dex. First with the legendary Flat Duo Jets and now with his Duo, Dex distilled the punk ethos of less-is-more to the essential guitar/drums template. Left in the wake of his lecherous and slithery Silvertone were early acolytes like Jack White, Neko Case, and the Reigning Sound as well as a current crop of the indie pack like Ty Segall, No Age, Japandroids, and The Black Keys. All owe an unclaimed pawn ticket of debt to his sublime and spine-tingling sound. He is a live wire back to the murky, sometimes dangerous and always unpredictable headwaters of real rock and roll.
Dex, with his whip-wristed sister Sara Romweber on drums, take Images 13 through neon-lit alleys, full of pulp fiction juvey rock, sci-fi theme songs and greasy denim hipster jive. Effortlessly versatile and raucously dismissive of genre constraints, exciting and darkly romantic, Images 13 would make everyone from Duane Eddy to Stan Kenton to Lenny Bruce crack a smile, a joke or the seal on a fifth of rye and head for the Naugahyde ice bucket.
Recorded at Rick Miller's (Southern Culture on the Skids) Kudzu Ranch studio in North Carolina, the album bristles with a sense of drama, of tension, of release, of mystery. "Roll On" and "Long Battle Coming" display the cinematic sleaze nestled between The Cramps and West Side Story. Eerie ballads "Baby I Know What It's Like to be Alone" and "I Don't Want to Listen" reveal the crooning, bruised romantic, the harsh morning light of a strange hotel room, a Raymond Chandler novel on the bedside table. "Beyond the Moonlight" is part sea shanty longing and part campfire revival. Then, just as easily, the instrumentals take center stage. "Blackout!" updates Henry Mancini's Peter Gunn theme with a dynamic tension and sly cool, and Dex and Sara attack the big waves off Maui with a chaotic rush on "Blue Surf" - his guitar guiding you into the sweet spot of the pipeline and her drums pounding you into the sand. Hey Tarantino, wake up!
Digging into the skeleton-filled rock 'n' roll closet, Dex Romweber Duo comes up with some obscure and wonderful gems. The early Who track "So Sad About Us," featuring Mary Huff (SCOTS) on vocals, hits an uncharacteristically sunny power pop vibe. The hopeful "We'll Be Together Again" written by Eddie Cochran's girlfriend Sharon Sheeley about his death in a car accident (that she and Gene Vincent survived). The song was never released formally but recorded by Jackie DeShannon in the early '60s. Finishing up the album is the music of Harry Lubin, who did theme music for shows like The Outer Limits and One Step Beyond. "Weird (Aurora Borealis)" is the music from the latter when ghosts, UFO's, or odd paranormal experiences begin to rear their strange heads, complete with tribal drums and Melissa Swingle (Trailer Bride, The Moaners) on the saw.
Flat Duo Jets - so often emulated, so rarely duplicated - released the first of nine albums in 1990 to rave reviews worldwide. They starred, alongside R.E.M. and The B-52s, in the 1987 cult classic film Athens, GA: Inside/Out. Their first national tour in 1990 was as opening act for The Cramps and they made a stunning impression on Late Night with David Letterman. Dex Romweber Duo's first record Ruins of Berlin featured guest appearances by Neko Case, Cat Power, and Exene Cervenka. Dex was name-checked by Jack White in the guitar superstar documentary It Might Get Loud, and the Duo recorded a single and live album with White for his label Third Man Records in 2009. Subsequently, the Duo has shared the stage with dozens of rock icons including Wanda Jackson, Cat Power, Neko Case, and The White Stripes. In 2012, the documentary about Dex's sometimes harrowing career Two Headed Cow was released.1. Roll On
2. Long Battle Coming
3. Baby I Know What It's Like To Be Alone
4. So Sad About Us
5. Prelude in G Minor
7. I Don't Want To Listen
8. Beyond The Moonlight
9. We'll Be Together Again
10. Blue Surf
11. One Sided Love Affair
12. Weird (Aurora Borealis)$16.99Vinyl LP - Sealed Temporarily out of stock